Director Victor Kossakovsky, who won the 1993 Joris Ivens Award with Belovy, has this time made a documentary he describes as ‘a comedy’.
The film is shot from his window and was inspired by both the first picture in the history of photography, View from the Window at Le Gras (1826-1827) by Nicéphore Niépce (1765-1833), and the short story Des Vetters Eckfenster (My Cousin’s Corner Window, 1822) by E.T.A. Hoffman (1776-1822). The latter tells the story of a paralysed man whose sole contact with the outside world is the view from his window.
Kossakovsky made what he calls an ‘accidental’ film: ‘We don’t normally look at things that are right in front of us. This is in a way an example of what can evolve right in front of your eyes if you care to look. Somehow this realistic story transforms realism into the surreal, into the abstract.’
From his apartment window, he filmed a few square metres of a St. Petersburg street, during one year of endless repairs for the celebration of the 300th anniversary of the city. Time and again, the street is broken up and repaved. The film always shows this from the same point of view, but with different lenses, at various times of day and in varying styles, ‘realistic, surrealistic and abstract.’The title, the Russian word tishe!, is the only word spoken in the film. It means lie low! be quiet and modest. —24th International Documentary Film Festival Amsterdam
Documentary film director. Born on July 19, 1961 in Leningrad. Since 1978 he worked at the Leningrad studio of Documentaries as assistant cameraman, assistant director and editor. In 1988 he finished the Higher Courses of Film Writers and Directors in Moscow. Laureate of the “Triumph” Prize, Laureate of the RF State Award and the “Nika” prize. Award-winner of numerous national and international film forums. He started his own production company, Kossakovsky Film Production, based in San Petersburg, to create a cinema with a strong focus in poetics and reality. —IMDb
let us talk about militia as an item of the past, of the myth of the honest proletarian and of "western" approach to work and duty in russia. study syndromes of the century merely contemplating the street. is it possible to capture the un-change so trickily disguised under limited variety?